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人过中年的瑞斯图西亚夫妇生活优渥、饮食无忧。然而富足的物质条件总与匮乏的精神状况形成鲜明的对比。担任公司高管职务的丈夫卡罗（Fabrizio Bentivoglio 饰）与妻子激情不在，在某次同学会上他重逢了已为人妇的昔日恋人爱莉西娅（Monica Bellucci 莫妮卡•贝鲁奇 饰），他们的爱火重燃；妻子吉莉娅（Laura Morante 饰）为了家庭放弃自己钟爱的舞蹈事业，在好友的帮助下，她走入话剧圈真正去做一件自己想做的事情；19岁的儿子保罗（Silvio Muccino 饰）孤独无助，缺乏认同感，他只希望融入其他的同龄人中；18岁的女儿瓦伦蒂娜（Nicoletta Romanoff 饰）一心走上电视荧幕，为此不惜出卖肉体。 这一家厌倦了生活现状的人，各自寻找着他们所理解的幸福，头破血流，也永不停止……。小顾和母亲给去世的父亲扫墓，小顾突然掉进了虫洞之中，回到了十年前。这个虫洞是未来的科学家实验失败所致，但新虫洞出现的时间并不确定。这时小顾发现穿越回来的时间正是父亲病重之时，也正是这段时间，父亲对小顾态度很差，让小顾在以后的生活中都觉得父亲并不爱自己。小顾以家教的身份隐居在小学同学罗童童家。小顾看到了小时候的自己。小顾在父亲昏迷前与父亲见了一面，并坦白了一切。在父亲去世那一天，他们三个来到医院，站在病房外，听着病房里的哭声，小顾借机告诉小时候的自己，父亲其实很爱他，小小顾伤心地哭了起来。突然，脑内的声音又响起，科学家告诉小顾半小时后他们制造的新虫洞会出现在某处。。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。